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‘Those About to Die’ retreads blood-soaked ground of previous ancient Rome depictions

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'Those About to Die' retreads blood-soaked ground of previous ancient Rome depictions

As a long-time student of history and culture, I have always been fascinated by the complexities of ancient Rome, its people, and the societal norms that defined their existence. The recent release of “Those About to Die,” an HBO Max original series set in the heart of the Roman Empire, has piqued my interest and ignited a wave of emotions.

It’s not my style to make guesses about the future, but it’s likely that in the next 100 or even 500 years, someone will create an epic tale about ancient Rome using the most popular form of entertainment at the time. The specifics may change depending on whether people are living in a republic or an empire, but fundamental elements such as love and war, weapons, sandals, bread, and circuses, decadent wealth versus honest poverty will endure.

Film creators have repeatedly drawn inspiration from this source since the inception of cinema, and the audience rarely has to endure a lengthy wait for the next installment. This week marks the unveiling of a trailer for Ridley Scott’s “Gladiator” follow-up, titled “Gladiator II,” and the debut, on Thursday, of a gritty new Peacock series, “Those About to Die,” which explores similar violent themes, presumably with a more modest budget.

In the year 79, Rome, which was once known for its advanced civilization, has unfortunately transformed into a hotbed of corruption and decay. In this grim setting, Anthony Hopkins portrays Emperor Vespasian, who is pondering his impending death and deciding which of his two sons will take over the throne.

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'Those About to Die' retreads blood-soaked ground of previous ancient Rome depictions

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'Those About to Die' retreads blood-soaked ground of previous ancient Rome depictions

1. Tom Hughes as Titus. (Reiner Bajo/Peacock) 2. Jojo Macari as Domitian. (Reiner Bajo/Peacock)

In the heart of various storylines, we find Tenax (Iwan Rheon) – a first-century bookmaker with a thriving betting shop that brings the series to life. Eager for advancement in the ancient world, Tenax aims to introduce a new racing faction to the existing four stables, whose horses and drivers exclusively race at the Circus Maximus, an impressive track situated behind the imperial residence. The main attraction and key element of Tenax’s scheme is chariot racer Scorpus (Dimitri Leonidas), who boasts of his accomplishments in the third person and manages a side business involving riotous parties.

Despite being the most endearing character in the series, thanks to Rheon’s captivating performance, Tenax appears to be a kind boss and a benefactor towards children. However, he has a darker side as he is a manipulator and a deceiver. The opening scene of the first episode reveals his ruthless nature when he orders someone’s throat to be cut, and he justifies it by saying, “Mercy has no value.” His boldness grants him access to various places, from humble back alleys to powerful halls, but this confidence often lands him in trouble.

In the later stages of his career, Tenax will take on an additional role as a producer, orchestrating spectacles at the Colosseum. Imagine if Fanny Brice and Will Rogers engaged in a brutal fight to the death, or if the Ziegfeld girls were suddenly attacked by alligators. Of course, this connection between show business and the underworld is not new, and “Those About to Die” explores various genres: behind-the-scenes drama, crime tales, political intrigue, family sagas, young love stories, erotic and gruesome content.

'Those About to Die' retreads blood-soaked ground of previous ancient Rome depictions

At Tenax, Cara (Sara Martins), a recent arrival from North Africa, brings about significant changes. She’s multilingual, literate, numerate, and innovative – arguably the most intelligent character in the series. Driven by the abduction of her children, Jula (Alicia Edogamhe) and Aura (Kyshan Wilson), Cara travels to Rome in search of their safe return. Tragically, Jula and Aura end up at the slave market, while Kwame (Moe Hashim), young and strong, is assigned to the gladiators, effectively a death sentence. The series’ predictable pattern includes an imposing adversary to conquer. Cara befriends Kwame during his time at gladiator training, one of the healthier relationships portrayed in the series. However, their eventual confrontation in the arena is inevitable – the brutality being the essence of the storyline.

Among the notable characters, though not all-encompassing, are Marsus (Rupert Penry-Jones) and Antonia (Gabriella Pession), who hold significant roles in one of the factions. Additionally, there are three lively Spanish brothers: Elia (Gonçalo Almeida), Fonsoa (Pepe Barroso), and Andria (Eneko Sagardoy). The former two aim to sell their swift Andalusian horses in Rome, while Andria’s intentions remain unclear. As the story progresses, many of these individuals will interconnect; this production is brimming with activity, making it a complex and engaging spectacle.

This subject has been explored through various lenses, ranging from lighthearted slapstick to gritty exploitation to sophisticated art cinema. While HBO’s 2005 series “Rome,” helmed by John Milius, adopted a more intellectual approach, “Those About to Die” is unapologetically melodramatic. The involvement of Roland Emmerich, who brought us blockbusters like “Independence Day” and the 1998 “Godzilla,” and Robert Rodat, who collaborated with Emmerich on “The Patriot” (and wrote “Saving Private Ryan”), should offer some insight into its storytelling style and goals. It’s neither the most refined nor the most crass take. The production features elements of history and meticulous attention to period detail, but the digital effects and backdrops sometimes distract from the human experience and transport us to a virtual world.

Regarding the explicit content in Rome-themed streaming shows, we’ve all seen the ancient Roman art depicting their sensual and violent side. However, these scenes on TV seem repetitive and unnecessary, with an abundance of attractive, nearly naked bodies – mostly women. As for the gore, there are frequent fights, killings, mutilations, and executions, often accompanied by special effects. Historically, such graphic content has enabled producers to market salacious material under the guise of education, while maintaining a false sense of high moral ground, which would have been inconceivable to the Romans themselves.

If we no longer carry out executions in public or force people to fight lions for entertainment, it seems we continue to find pleasure in watching actors portray such violent scenes instead. What does this reveal about human nature?

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2024-07-18 23:04

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